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THE COMPLETE PIANO PLAYER STYLE BOOK
'Bv the end of this book vou will be pitting all your piano-pLying skills
to work in a number of fascinating new styles. You will be playing 22 popular songs, including: Bdge Over T d e d Watec
BaZZade Pour AdeZihe, Money, Money, Moneyy and The James Bond Theme.'
Kenneth Baker
Wise Publications London/New YorMSydney/Cologne
Exclusive Distributors: Music Sales Limited F 9 Frith Street, London W1V 512, England Music Sales Pty. Limited 120 Rothschild Avenue, Rosebery, NSW 2018, Australia
This book @Copyright 1984 by Wise Publications UK ISBN 0.7119.0461.8 UK Order No. AM35338
Designed by Howard Brown Photography by Peter Wood Arranged by Kenneth Baker
Music Sales complete catalogue lists thousands of titles and is free from your local music book shop, or dired from Music Sales Limited. Please send £1.75 (cheque) for postage to Music Sales Limited, 8/9 k i t h Street, London WlV 5TZ.
Unauthorised reproduction of any part of this publication by any means including photocopying is an infringement of copyright.
Printed in England by Halstan & Co. Limited, Amersham, Bucks.
About this book, 5
LESSONS
New notes: Low F, G, A, and B for lefi hand, 6
Four in a bar and eight in a bar pop style, 6
Brubeck style, 10 Off beat style, 12 Boogie woogie style, 14 The tremolo again, 16
Rock 'n' roll style, 18 Minuet style, 20 Modem blues style, 22 Moving semitone chord style, 24 Percussive style, 26 Richard Clayderrnan style, 28 Country style, 30 Block chord style, 32
Unison octave stvle. 36 J '
Fast Latin style, 38 Novelty piano style, 40 Contemporary folk style, 42 Rock boogie style, 44
SONGS
Ballade Pour Adeline, 28 Blue Suede Shoes, 18 Bridge Over Troubled Water, 42
Cecilia, 7 Don't Blame Me, 32
Get Back, 15 .,
It's All In The Game, 30
James Bond Theme (The), 26 Lady Madonna, 44
Like Young, 22 Lullaby Of Birdland, 34 Maria Elena, 36 Minuet (fiom String Quartet), Boccherini, 21
Minuet In G, Beethoven, 20 Money, Money, Money, 8 Mrs Robinson, 38 Night Train, 16
Nola, 40 One Note Samba, 24 Stardust, l2 Take Five, 10
Wedding Day At Troldhaugen, 46
Last word, 46
ABOUT THIS BOOK
This is the last book in 'The Complete Piano Player' series.
To help you become a complete, all- round player, it has been arranged as a series of piano styles. You will learn Boogie Style, Block Chord Style, Country Style, Modem Blues Style, Unison Octave Style, and so on.
As usual, you will be working with popular standards and famous hit songs, interspersed with a few tuneful classics.
You need not play every piece in the exact order given. For example, although the three Boogie Woogie pieces are placed together for convenience, you could insert a slower number, such as 'Stardust', or one of the two Minuets in between, as light relief
Don't lose touch with Books One to Five of the series. Most of your basic information is there, and will need revising fiom time to time.
To build your repertoire further, look at 'The Complete Piano Player Songbooks'. These are available at various levels of difficulty.
Good luck with your piano playing.
NEW NOTES:
I Low F, G, A, and B for lefi hand.
F G A B
FOUR IN A BAR AND EIGHT IN A BAR POP STYLE
2 In this simple but effective style your left hand plays a chord, or octave, on every beat of the bar:
CECILIA (p.7) . With energy r( = 126
(etc)
> > > > > > > < > > > > (no pedal)
For variation your left hand can play twice as many chords - one chord on each quaver &the bar:
Bar 7 MONEY MONEY MONEY (p.8)
Bar 8
(I Work all night, I work all day to I pay the bills I have to pay 1 (etc)
Although the left hand seems simple with all syncopated pieces, keep your left enough, this style usually involves a good hand rock-steady throughout. deal of syncopation in the right hand. As
CECILIA '.tcl-ds & 1Iusic: Paul Simon
With energy J = 126
Cel - ia, You're (break-ing my heart- ~ o u ' r e l shak - ing my con - fi - dence I
(no pedal)
dai - ly Oh, Ce -1 cil - ia, I'm ( down on my knees-
B b F C7 F D. C. el Fine
i I
wash my f a c e when I lcorneback to bed- some-one's 1 tak - en mv dace.- I I
- -..-A. 1969. 1970 Paul Simon. All rights reserved. Internat~onal copvr~ght secured
MONEY, MONEY, MONEY Words & Alusic: Benny Andersson & Bjorn Ulvaeus
Strong 8 to the bar rhythm J = 120
i > > > f
P P > P *
Am Bar 7
I 1 Work all night, I work all day to ,
Bar 8 Am
) pay the bills I have to pay 1 Ain't it And I
I In my dreams I 1 have a plan I If I aot me a I
I aeal- thy man I would-n't have to work at all I'd fool a - round and have a ball-
cresc.
I I
E7
ffl - -
\ Mo-ney, mo-ney, m o - n e y ' a must be fun - n y I I -
\ Mo.-ney, mo-ney, mo-ney
r ' / I I In the riLh man's world- I
0. C. el Fine
- . . - r-.-fE; 1076 bv Union Son s AB. Stockholm. Sweden for the World. Bocu Music Ltd. 1 Wvndham Yard. Wvndham Place, London Wl
- - - -2 . '---a!> and Elre. All r&s reserved. ~nternational copyrighr secured.
BRUBECK STYLE
3 The Dave Brubeck Quartet was well known in the '50s for its own particular brand of Modem Jazz.
The following piece, n k e Five, was written by the group's alto saxophonist: Paul Desmond. The Time Signature is
TAKE FIVE By Paul Desmond
unusual: five crotchets (quarter notes) in a bar. Think of these as three crotchets followed bv two. The basic left hand figure, which appears in Bar 1, will give you the feel of the rhvthm.
Bar 1 D, Gm
Gm Dm Gm Dm to Coda D.S. a/ Coda
- - - - -.rmnhr 1960 & 1961 by Deny Music Co, USA. Controlled bv Valentine Music Group Ltd, for the world (excluding USA, Canada. Japan, Germany, - .=-2 .4ilrrrdasia, Scandinavia, Finland, Iceland, France. Benelux, Italv, Republic of South Africa & Rhodesia).
-:-r< r~ren.ed. International copyright secured.
OFF BEAT STYLE
4 Plaving on the 'off beat' means playing in right hand while vour lefi hand plan bebeen the main beats of a piece. melody notes on -the beat (see ~ a & 1 and In Hoagv Carmichael's famous Shzrdmt, 2, for example). vou genkrate a nice rhythmic flow by - • In Bars 11 and 12 the situation is reversed: playing 'off beat' chords with Your Your left hand Dlavs offbeat 'G's' rn-Me
;our right hand piays the melody ion the beat).
STARDUST Words: Mitchell Parish. Music: Hoagy Carrnichael
Bar 1
Freely, with expression Fsus2 Bar 2
Some-times I won - der
Fm(maj7)
i a song.
P P
night - in - gale I - mel - O - dy haunts my re - ve - rie,
1 tells his fair- y tale I and I am once a - gain with of pa - ra - dise where ro - ses
When our I love was new* and each kiss an ins - pir - Tho' I
i my con - so - la the star-dust of a
allargando '
dream in vain.
cresc. If I I 1-a-3 1 1
I
F# msus4 B 7 a tempo A -
F
'Broadening - decreasing the speed. - -
- -P' 1929 bv Mills MUSIC Inc, USA Lawrence Wnght MUSIC Co Ltd. 19 Upper Brook Street. London. WI for UK. Brltlsh Cornrnonwealrh -- - : Canada k Australaslal, Elre, Cont~nental Europe (excluding Latln roilnrnes & Suqrzerland) All nghm resensed Inrernat~onal cop\r~ght secured
BOOGIE WOOGIE STYLE
5 Boogie If'oogie is a piano style which developed out of the 'Blues'. Based on the same harmonies as the Blues, Boogie Woogie tends to be more lively and outgoing. Its most characteristic feature is its repeating bass patterns. In the three Boogie-style pieces which follow you will have-a chance to practise three tfpical - -
lefi hand Boogie patterns:
1. GET BACK (p. 15) Bar 1
1 I I 1 t I I I .- 2 4 1 1 II I A m m
1 1 5 4 A A A
w 5 ,' - w j
(no pedal)
Play all these quavers evenly.
2. NIGHT TRAIN (p. 16) Bar 1
left hand: (etc)
(no pedal) alternative fingering: 1
Here the quavers are NOT even. Play these lefi hand figures with a 'lilt', like this:
NIGHT TRAIN
left hand: kt4
(no pedal)
3. BLUE SUEDE SHOES Bar 5 Bar 6
left hand: (et,
(no pedal) Play these octave figures with a lilt, as in Ntght Train.
Remember: When playing Boogie Woogie your touch must be firm and your rhythm rock-steady.
GET BACK . -
- -5 3 Y Iusic: John Lennon & Paul McCartney
Medium Boogie J =I26 G Bar 1 . . - I
he knew lt could - n't
i
i - some Cal - i - for - nia g
u * - - - r L u Z i r 1 I I - 1 - 4 +L I
Get back- Get back - to where vou once be - lo&.- ff
? Copvright 1969 Northern Songs Lirnired. 19 Upper Brook Street, London W I . All rights reserved. International copvright recured.
THE TREMOLO AGAIN
6 In Bar 2 of Train (and elsewhere in the same piece), you will see an alternative way of writing a 'tremolo':
Turn back to page 42 in Book Fh-e of 77.y
CompZete P~izno P/qw and read again about how to do 'tremolos'.
Tremolo NIGHT TRAIN (Bar 2)
Tremolo
Words: Oscar Washington and Lewis C. Simpkins. Music: Jimmy Forrest
Groovin' J = 1 16 B b
I
Tra/n - Tram-
that 1 took my ba - by so far a - pleasebring 'my ba - by back home to me
(no pedal)
E b9
-
took my ba - bv so far a - w c brine: mv ba - bv back home to me
Tell her 4 I She's gone
I 1 love her more and more ev-'ry d* the
I
My I mo - ther said I'd lose her if I I ev - er did a-buse her, should have I
V list - ened. f Now I have learned my less - on, my sweet
mp 3 ibt rn Y
'5 f I I
D. C. a1 Coda
i
@ coon
blues she left st won't set me free.
O Copvright 1952 bv Pamlee Music Co. Assigned 1955 to Hill & Range Songs Inc, now Chappel]& Co Inc, New York. USA. Carlin Music Corporation, 14 New Burlington Street. London W1 X 2LR for the United Kingdom, British Commonwealth (excluding Canada and Australasia). rFle Republic of Ireland and Israel. All nghts reserved. International copvright secured.
ROCK 'N' ROLL STYLE
7 Blup Suede Shoes, recorded by Elvis Presley This arrangement uses the most active of in 1956, is one of the most famous our three Boogie Woogie bass patterns. rock 'n' roll songs. When practising it, stress the left hand
fifth fmger notes.
BLUE SUEDE SHOES Words & Music: Carl Lee Perkins
Lively J = 132 F
Well it's 1 one for the mo - ney, ]two for the show, l ~ h r e e to get read - y now 1
go, cat, go, but step on my Blue
Shoes. I You can 1 do an- y - thing, but lay I
va bassa - - - - -
off of my B1 Suede Shoes.
loco (play in the normal place)
* Play one octave (eight notes) lower than written.
knock me down. I Step in my face. I~lan-der my name all I o - ver the place
uh, 7 ho - ney, lay
off of my shoes. step on my Blue
Shoes. I You can I do an - y - thing but lay I
B b 7
off of my Blu
u (loco)
O Copvright 1956 bv Hi-Lo Music all rights assigned to Hill & Range Songs Inqadministered bv Unicha pel1 Music Inc, New Yorlr, USA. Carlin Music Corporation, 14 New Burlington Streer, London WIX 2LR for the territor). of United ~ i n ~ & m of Great Britain & Northern Ireland, Eire, Islael, and the Bntish Dominions, Colonies, Overseas Territories & Dependencies (excluding Canada, Australia & New Zealand) (also excluding: South Africa). 411 rights reserved. International copvright secured.
MINUET STYLE
The Minuet, a gracehl dance of French origin, was popular in the 17th and 18th Centuries. It is in % ~ i r n e .
MINUET IN G By: Ludwig Van Beethoven
Allegretto = 92
Here are two famous Minuets. one written specially for the piano bv Beethoven, the other taken from a strin~ quartet by Boccherini.
d - (no pedal)
O Copvright 1984, Dorsey Brothers Music Ltd, London WI. All rights reserved. International copyright secured.
2 0
77 Luiqi Boccherini
Tempo di Minuetto J = 92
'Trill, or shake. An ornament consisting of the rapid alternation of the written note and the note directly above it. For the first trill (above) use F# and G #, for the second trill (above) use B and C 1.
O Copyright 1984. D o n w Brothers Music Ltd, London W1. All right9 reserved. International copy~ight secured
MODERN BLUES STYLE
9 Manv of the original Blues songs and The next piece, Lide Young bv Andre insbumental solos were based on a Previn, is a blues written in a - ~ o d e r n simple 12-bar harmonic sequence. You Jazz style. In addition to the usual twelve have already played two pieces of this bars based on blues harmonies, there are type: Swinph'Sh@ierd Blue3 (Book Five, eight extra bars inserted into the middle page 14), and N&ht Train (Book Six, page for contrast These 'middle 8' bars 16). modulate skiblly through the keys of G,
A flat, and A, before returning to the original key of B flat for a repeat of the main theme. LIKE YOUNG
By: Andre' Previn
Medium Blues Tempo J = 96 B b
(no pedal)
Am7 to Coda @
F 7 D.C. a1 Coda
0 Co vright 1958, 1959 Robbins Music Corp. USA. Administerrd by Big 3 Music Ltd. 37/41 Monimer Street, London W1 for the U K & Eire All rig%$ reserved. International copright secured.
MOVING SEMITONE CHORD STYLE
A semitone, or half step, is the distance between anv piano kev and the next nearest key -(black or white): --
C# D#
I
I C D E F L-l I
examples of semitones
In the next piece: One Note Samba,you play a full chord style in which the chords move almost continuously in semitones. This semitone movement is usually downwards (Bars' 1-15, for
example), but is occasionally upwards (Bars 19, 20,23).
Study each hand separately and note carefully where the semitone movements OCCUT.
Music: Antonio Carlos Jobirn. Orignal Words: N. Mendonca. English ~ ~ r i c : on Hendricks
Bright Bossa Nova d = 96
i P P P P
to Coda e
/ \ - As I'm lbound to be the un I - a - void - 'ble I con - se - quence of you. I
(I I There's so ma - ny peo - ple who can I a talk and talk and talk and just say I
I have used up all the scale I
P * P * P
Bar 23 D.S. a1 Cod8
know and at the end I'vecome to no - thing, or near - ly no - thing. This is v'
I V I 1 - -
P P * P *
O Copvright 1961, 1962, 1964 Antonio CarlosJobim and Mrs. N. Mendonca, Brazil. MCA MUSIC Lrd, 139 Piccadillv, London WI for the British Commonwealth (excluding Canada). All rights reserved, International copyright secured
PERCUSSIVE STYLE
I I The J m e s Bond 7 2 m e relies for its effect on a hard, percussive style of playing.
The ~ i e c e starts dramaticallv with a ~egatb left hand counter mdody which has become famous. As well as playing this counter melody, your left hand repeated bass E's, staccato, to keep the, rhythm going. Above this your right hand plays off beat chords (see Off-Beat Style, page 12).
'swingy'), is driven along by a solid 4-to-a-bar lefi hand, moving mainly in semitones.
In the Coda both hands play the same notes, so simply copy your right hand with your lefi. Observe the phrasing here. The piece ends with a discordant two- handed tremolo, played very loudly.
The main theme begins at Bar 5, with splky, repeated chords in the right hand.
The Middle Section of the piece (marked
THE JAMES BOND THEME By John Bany
With a strong rhythm J = 120
i 5 f r f r r r r r f f f f r f f r (no pedal)
Bar 5
Em+5
ny~ cresc. I I
Em6 Am6 Em6 Am6 D. c. SI Coda
I 1 I
4: :: I I I . I I h I n I t
f " I d l * I rl - 7 I I ' I -1 ..
@ Copyright 1962 United Artists Music Ltd. 37/41 Monimer Street London W1. All nghts re.cerved. Inremational copwight secured.
RICHARD CLAYDERMAN STYLE
12 Richard Clavderman is a young pianist who brings b classical piano style to ~ o ~ u l a r music.
Notice the solitary Z ear (13ar 14) in amongst the 2 bars. Think of this as an incomplete bar. Count 1,2, then c a m on - L I
For much of Balde Pour Adelrite your left again &om '1: as if nothing had
hand plays an 'open broken chord' type happened.
of accompaniment (see Book Five, A 'wrist staccato' technique (see Book page 46). Two, page 44) is called for in the right
hand in Bars 2, 5 , 6, and elsewhere.
BALLADE POUR ADELINE Composer: Paul de Senneville
Gently flowing J = 84
P P P
C Bar 5 Dm Bar 6
*Play one octave (eight notes) higher than written.
0 Copyri ht 1977 TremplinIDelphine Editions for the World. Zomba Music Publishers Ltd, 165/167 Willesden High Road. London NWlO for the UK & Eire. ~uthornse i for sale In the UK & Eire onl". All rights reserved. International copvrlght secured.
COUNTRY STYLE
13 This is an American popular music style, notable for its simple harmonies and uncomplicated rhythms.
Originally country music was played on fietted stringed instruments such as guitar, banjo, and mandolin. Country style piano playing tends to imitate these instruments in some respects. One of the most common characteristics of the style is the 'hammer on' technique, common in guitar playing. Here the guitarist plucks an open string, then quickly places his finger on the same string, causing the note to rise (usually to the next highest note) :
IT'S ALL IN THE GAME (Bar 2)
with an upper note added:
hammering on
Another device borrowed fiom fi-etted instrument players is 'finger-picking'. This is where the guitarist (or banjoist) alternates in his right hand between the thumb and other fingers. You will find examples of this technique adapted to the piano in Bars 8 and 13 (right hand).
IT'S ALL IN THE GAME Music: Charles G. Dawes. Words: Carl Sigman
All in the won- der - ful
i 3 0
P P P P P
words with him and your fu - ture's look - ing kiss your
I I I I I I 1 - I 1 I 1 I I
9 1 - 1 4 5 4 4 li I
P P P P P
dim, but these things your heart can rise * a - T
1 I I I I I I
I I I L I 1 - I I I 9
rn 3; - I
ger -1 tip?, And your / hearts will I ress your wait - ing fin - cresc.
I mf I b I I I A f2
I I 1 I I I L
O Copvright 1912 Gamble Hinged Music Co. USA. Renewed and assigned 1940 to Remick Music Corp, USA. Lyric version O Copyright 1951 Remick Music Corp, USA. Renewed and assigned 1979 to Major Songs Co, USA. Copvright revrned and assiped 1981 to Memory Lane Music Ltd, London, England. All rights reserved. International copyright sccured
BLOCK CHORD STYLE
14 This stvle was developed for the piano by In Bars 9-18 of Don't Bhme Me, I have ~ e o r & Shearing in the late '40s. changed fiom block chord style to open
The two main elements of the stvle are: chord style for the sake of contrast
1. The right hand plays the meloby in chords. 2. The left hand doubles the melody in single notes only, one octave lower.
DON'T BLAME ME Words & Music: Jimmy McHugh and Dorothy Fields
. -
fall - ing in love with you. un - der your spell, but 1 you do the things you If I I can't con - ceal the I
-- 1 I
I 3 , --- - - --
P P P P P * Bar 9
-5 2 I I I I I I 1 4
P P P P P P P P 32
if that dog - gone I moon a - ( bove I
makes me I need some - one like I you. to I
\I s w e e t as a kiss can be-. And I blame all your charms that I
P P P P * P P
O Co Might 1933 MGM Gorp, USA. Assiped to Robbins Music Corp. USA. Reproduced b" permission of Campbell, Connellv & Co Ltd, London. A l l rlR!ts reserved. lnternat~onal copyr~ghr secured.
Lt~Ilab,! ofBid7and is George Shearing's own &omposition.
The Middle Section (Bars 11-18) is written in. Block Chord style. To make
LULLABY OF BIRDLAND Music: George Shearing. Words George David Weiss
this part easier to play, quite a few shz 'e notes have been used in the right hami. This is common practice when plaving block chords in faster pieces.
Swingy J = 100
7,?!p Lul - la - by of
I I I - I
that's Have you ev - er heard two - I tur - tle doves
a1 - ways hear- lwhen you sigh- I Ne - ver in myword - land- bill and coo - when they love? - That's the kind of mag - ic -
n h o I n 1-1. 1 ,- q:g 2*: I 2 E g I YI w UI r i
I I 1 am. 3 1 l'-*Y 5 I
Y - I t. I
E9 Bar 11 E7-9 Am7
- f ow real - lv knows how to crv I
? Lul - la -by of Bird - land- whis - per low-
kiss me sweet- And we'll go- Fly - in' high in Bird - land,
Copvri~ht 1952. 1953 & 1954 Adam R Lew & Father Ent Inc. Planetaw-Nom (London) Lrd. 97 Soho Square, London W1 for the British Commonwealth excluding Canada, Australasia and British ~ f s c a n tenitories) and Elre. ~ $ ~ r o d u c e d br Permission. All rights reserved. International copyright secured.
15 This is a brilliant and impressive solo style for piano, but it does involve a lot of jumping about
The melody is played by both hands in unison, two octaves apart. In between playing melody notes both hands travel down the keyboard to add accompanying chords.
As with Cymnape'die No I, in Book Five (page 22), you must get used to finding your place in the music after looking down at the keyboard.
MARIA ELENA Music: Lorenzo Barcelata. English lyric: S.K. Russell
With emphasis .( = 88 Em7 Dm
\ will ne - ver art, I
A 1 love , like mine is 1 great , e-nough for I two I
C Am7 A bmaj7Dbmaj7 Cmaj7
P P P P P P P P * O Co wight 1933 & 1941 Peer International Corporation. Latin-American Music Publishing Co. Ltd. 8 Denmark Street, London WC2 AII ri$k reserved. International copyright secured.
FAST LATIN STYLE
16 In Mrs Robimon your left hand plays the basic Bossa Nova rhythm pattern given in Book Four, page 44: 1 I h I , I
but with variations: MRS ROBINSON
Bar 1 1 Bar 1 2 Bar 1 5 Bar 1 6
MRS ROBINSON Words & Music: Paul Simon
Bright d = 96 Gm
P P P P
B b Gm
Hea - ven for those- who
God bless you
- 4
'2 to Coda @ - - -
hey, hey, h e y
G Bar 1 1 Bar 1 2
G7 Bar 15 Bar 16
like to know a lit ( - tle bit a - b o u ; you for our filw-
w Look a-round you all you see are sym - pa - the- tic eyes i
- I
Stroll a - round - the grounds un - I I
D.S. a1 Coda
!I ti1 you feel at h o m e ] And here's to I I
@ CODA G
Cop~right 1968 Paul Simon. All rights reserved. International copyright secured
NOVELTY PIANO STYLE
17 Noveltv piano solos were popular in the '20s, and bevond. They were usually based on '&ing' piano styles, the basic accompaniments of which consisted of:
'bass note, chord, bass note, chord', and SO on.
One of the best of these novelty pieces is Noh:
NOLA By: Felix Amdt
Moderato J = 120
D.C. el Fine, then jump to INTERLUDE
INTERLUDE
G Y 8
. a '31 I I T "
I L I I n~ I b --
Copyright 1915 & 1942 by Sam Fox Publishing Company Inc, New York, N.Y. 7 1 s arran ement OCopynght 1984 by Sam Fox Publishing Co. Inc, SantaMariqCA. 1 sed by hfuric sales Corporation by permission. All rights mewed. International mpyright secured. Made in USA.
CONTEMPORARY FOLK STYLE
18 In this stvle modem musical techniques (such as new rhythms, the use of amplified instrukents, etc), are applied to traditional style songs.
In Bn*e Ova- TmubZed Watq a huge success for Sirnonand Gahnkel in 1970, a Bossa Nova bass line has been added to the song in order to give it a modem style rhythm.
BRIDGE OVER TROUBLED WATER IVords & Music: Paul Simon
Peacefully J = 80 E b
P P P
when tears are your 1'11 (
i And friends just
P P P P P P
can't be 1 found. Like a 1 bridge o - ver 1
Eb(on Bb) C7sus4 C7 G7 Cm E b7
trou - bled wa - ter I will lay me I down, like a I
bridge o - ver I trou - bled wa - ter I I will lay me I
Eb(on Bb) Bb7
i P P P P
1 P P P P P *
*Molt0 Rallentando: much slowing down 0 Copyright 1969 Paul Simon. All rights reserved. International copyright secured.
ROCK BOOGIE STYLE
This is a mixture of a modem rock style tune with a boogie woogie bass line.
In Lady Madonna, one of The Beatles' later recordhgs, there is a fine, varied 8 to the bar bass line, which combines boogie
patterns with a walking bass. The climax of the piece comes in Bars 15 and 16, where the bass movement stops, temporarily The theme and boogie bass then pick up again and we go out comparatively quietly
LADY MADONNA Words & Music: John Lennon and Paul McCartney
Medium Rock J = 108 A D A D
La - dy Ma - don - na (child - ren at your feet I
(no pedal)
\ I Won- der how you manage to make- ends meet - who finds the mon- ey I
when you pay the rent, I id you think that mon-ey was hea - ven sent- I
/ \ I Fri - day night ar-rives with-out a 1 suit - case I Sun-day morning creep in like a I
w
nun- I Mon - day's child has learned to tie his boot - lace-
!I See how they'll I run. I La - dy Ma - don - na I
Ba - by at your breast won- der how you man - aged to feed( the rest - I
La - dy Ma-don- na lis - ten to the mu - sic play - ing
0 Copyright 1968 Northern Songs Limited, 19 Upper Brook Street, London W1. All ri~hts resewed. International copyright secured.
LAST WORD
This is the end of The Complete Piano Plaver Stvle Book, the last book in The ~ o h ~ l e t e Piano Plaver series .You can now consider vourself a good, all-round pianist. But vou do need to enlarge your repertoire. For fhis,use The Complete Piano Player Songbooks. They contain fabulous new pieces at all levels, written in the style of The Complete Piano Player books.
We end this book on piano styles with a classical piece by one of the greatest stylists in music: Edvard Grieg.
WEDDING DAY AT TROLDHAUGEN By: Edvard Grieg
Tempo di marcia un poco vivace" J = 108 D (Both hands8va2nd time)
*March tempo, but a little more lively
(Both hands loco)
\
'Play 16 notes (2 octaves) higher than written.
0 Copvright 1984, Dorsev Brothers Music Ltd. London WI. All rights reserved. International copyright secured:
48
Tt IZ COL II-LETE PIAii3 PLAYER STYLE BOOK
I nis style book is designed to help you become a complete, all-round pianist. It can be used by anyone who has followed The Complete Piano Player or a course of similar standard. Based on famous hit songs, popular standards and light classics, it t e a c h e ~
Book 4
I I I
Book 2 right and left hands.
Chord s y m b o l s
Two tunes with one hana. Plus 22 popular turn. including\
HardDqSNight . . . Gke Mc Himu Comtry Road. . . -
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THE COMPLETE HA"O-P_LAER bmII-.-dl_-.---.----.-
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Book 3 Chord pyramids. I hynnxupattem.
More left hand me ody playing. Plus 22 popular tunes including
Rkndrvpsfiep &id&#' O* My Head. . Somewhere My Love . . . Itucination.
Book 5 ~ m ~ o ~ in music.
Phrasin again. d New 1 hand rhythm pattern. Plus 20 more popular tunes including . House Of The W1g Ssu . . .. Panther Them.
Kenneth Baker, who wrote this W a t i n g course, is me ofthe country's leading authorities on
keyboard layin . Hrs many books are stanchd works and i' ave so f d millions af copies world wide, in English and other langu . They are used in both school and colleges. % Complete piano
Player aims at making you an accomplished pianist in the shortest possible time.
Nothing has been overlooked in making this course easy, enjoyable and rewarding. Its aim is to teach you to make interesting music on the iano in the shortest possible
time. Based throughout on today's popular songs an d' on fvnous light classics, it assumes no knowledge of either the piano or of music. Yct from the be8innhg you
will be playhg songs such as Annie's Song . . . Can't Buy Me Love . . . Smgin' In The Rain. Among the modem songwriters whose music you will find yourself playing
with ease ate: The Beatles . . . Elton John . . . and many more: while classical composers are represented by such gre;t names as ~eethoken and Mozut. Step by .
asy step, the programme lays a solid musical foundation. You ac uire sound 1 tachni ue and learn to lay in any style with confidence. By the end o the course you A have a wonder& gift -the ability to play the kind of music you like best. - ; - - W k p u b k h m - - c a d d k . A M a --- -- -- - .-